ous that it would rather make a good man weep. Yet, since it may not be wholly cured, it must be discreetly indulged; and therefore those who would amend evil laws should consider rather how much it may be safe to spare, than how much it may be possible to change. Have you not heard that men who have been shut up for many years in dungeons shrink if they see the light, and fall down if their irons be struck off. And so, when nations have long been in the house of bondage, the chains which have crippled them are necessary to support them, the darkness which hath weakened their sight is necessary to preserve it. Therefore release them not too rashly, lest they curse their freedom and pine for their prison.

“I think, indeed, that the renowned Parliament, of which we have talked so much, did show, until it became subject to the soldiers, a singular and admirable moderation, in such times scarcely to be hoped, and most worthy to be an example to all that shall come after. But on this argument I have said enough: and I will therefore only pray to Almighty God that those who shall, in future times, stand forth in defence of our liberties, as well civil as religious, may adorn the good cause by mercy, prulence, and soberness, to the glory of His name and the happiness and honor of the English people."

And so ended that discourse; and not long after we were set on shore again at the Temple-gardens, and.there parted company; and the same evening I took notes of what had been said, which I have here more fully set down, from regard both to the fame of the men, and the importance of the subject-matter.

THE celebrity of the great classical writers is confined within no limits, except those which separate civilized from

savage man. Their works are the common property of every polished nation. They have furnished subjects for the painter, and models for the poet. In the minds of the educated classes throughout Europe, their names are indissolubly associated with the endearing recollections of childhood, the old school room,-the dog-eared grammar, -the first prize,—the tears so often shed and so quickly dried. So great is the veneration with which they are regarded, that even the editors and commentators who perform the lowest menial offices to their memory, are considered, like the equerries and chamberlains of sovereign princes, as entitled to a high rank in the table of literary precedence. It is, therefore, somewhat singular that their productions should so rarely have been examined on just and philosophical principles of criticism.

The ancient writers themselves afford us but little assistance. When they particularize, they are commonly trivial: when they would generalize, they become indistinct. An exception must, indeed, be made in favor of Aristotle. Both in analysis and in combination, that great man was without a rival. No philosopher has ever possessed, in an equal degree, the talent either of separating established systems into their primary elements, or of connecting detached phenomena in harmonious systems. He was the great fashioner of the intellectual chaos; he changed its darkness into light, and its discord into order. He brought to literary researches the same vigor and amplitude of mind to which both physical and metaphysical science are so greatly indebted. His fundamental principles of criticism are excellent. To cite only a single instance;-the doctrine which he established, that poetry is an imitative art, when justly understood, is to the critic what the compass is to the naviga tor. With it he may venture upon the most extensive excursions. Without it he must creep cautiously along the coast, or lose himself in a trackless expanse, and trust, at best, to the guidance of an occasional star. It is a discovery which changes a caprice into a science.

The general propositions of Aristotle are valuable. But the merit of the superstructure bears no proportion to that of the foundation. This is partly to be ascribed to the character of the philosopher, who, though qualified to do all that could be done by the resolving and combining powers of the understanding, seems not to have possessed much of sensibility or imagination. Partly, also, it may be attributed

to the deficiency of materials. The great works of genius which then existed were not either sufficiently numerous or sufficiently varied to enable any man to form a perfect code of literature. To require that a critic should conceive classes of composition which had never existed, and then investigate their principles, would be as unreasonable as the demand of Nebuchadnezzar, who expected his magicians first to tell him his dream and then to interpret it.

With all his deficiencies, Aristotle was the most enlightened and profound critic of antiquity. Dionysius was far from possessing the same exquisite subtlety, or the same vast comprehension. But he had access to a much greater number of specimens; and he had devoted himself, as it appears, more exclusively to the study of elegant literature. His peculiar judgments are of more value than his general principles. He is only the historian of literature. Aristotle is its philosopher.

Quintilian applied to general literature the same principles by which he had been accustomed to judge of the declamations of his pupils. He looks for nothing but rhetoric, and rhetoric not of the highest order. He speaks coldly of the incomparable works of Eschylus. He admires, beyond expression, those inexhaustible mines of common-places, the plays of Euripides. He bestows a few vague words on the poetical character of Homer. He then proceeds to consider him merely as an orator. An orator Homer doubtless was, and a great orator. But surely nothing is more remarkable, in his admirable work, than the art with which his oratorical powers are made subservient to the purposes of poetry. Nor can I think Quintilian a great critic in his own province. Just as are many of his remarks, beautiful as are many of his illustrations, we can perpetually detect in his thoughts that flavor which the soil of despotism generally communicates to all the fruits of genius. Eloquence was, in this time, little more than a condiment which served to stimulate in a despot the jaded appetite for panegyric, an amusement for the travelled nobles and the blue-stocking matrons of Rome. It is, therefore, with him, rather a sport than a war; it is a contest of foils, not of swords. He appears to think more of the grace of the attitude than of the direction and vigor of the thrust. It must be acknowledged, in justice to Quintilian, that this is an error to which Cicero has too often given the sanction, both of his precept and of his example.

Longinus seems to have had great sensibility, but little

discrimination. He gives ns eloquent sentences, but no principles. It was happily said that Montesquieu ought to have changed the name of his book from L'Esprit des Lois to L'Esprit sur les Lois. In the same manner the philosopher of Palmyra ought to have entitled his famous work, not "Longinus on the Sublime," but "The Sublimities of Longinus." The origin of the sublime is one of the most curious and interesting subjects of inquiry that can occupy the attention of a critic. In our own country it has been discussed, with great ability, and, I think, with very little success, by Burke and Dugald Stuart. Longinus dispenses himself from all investigations of this nature, by telling his friend Terentianus that he already knows every thing that can be said upon the question. It is to be regretted that Terentianus did not impart some of his knowl edge to his instructor: for from Longinus we learn only that sublimity means height-or elevation.* This name, so commodiously vague, is applied indifferently to the noble prayer of Ajax in the Iliad, and to a passage of Plato about the human body, as full of conceits as an ode of Cowley. Having no fixed standard, Longinus is right only by accident. He is rather a fancier than a critic.

Modern writers have been prevented by many causes from supplying the deficiencies of their classical predecessors. At the time of the revival of literature, no man could, without great and painful labor, acquire an accurate and elegant knowledge of the ancient languages. And, unfortunately, those grammatical and philological studies, without which it was impossible to understand the great works of Athenian and Roman genius, have a tendency to contract the views and deaden the sensibility of those who follow them with extreme assiduity. A powerful mind, which has been long employed in such studies, may be compared to the gigantic spiri: in the Arabian tale, who was persuaded to contract himself to small dimensions in order to enter within the enchanted vessel, and when his prison had been closed upon him, found himself unable to escape from the narrow boundaries to the measure of which he had reduced his stature. When the means have long been the objects of application, they are naturally substituted for the end. It was said, by Eugene of Savoy, that the greatest generals have commonly been those who have been at once raised to command, and introduced to the great operations of war, without being

* ̓Ακρότης καὶ ἐξοχή τις λόγων ἐστὶ τὰ ὕψη.

employed in the petty calculations and manœuvres which employed the time of an inferior officer. In literature the principle is equally sound. The great tactics of criticism will, in general, be best understood by those who have not had much practice in drilling syllables and particles.

I remember to have observed among the French Anas a ludicrous instance of this. A scholar, doubtless of great learning, recommends the study of some long Latin treatise, of which I now forget the name, on the religion, manners, government and language of the early Greeks. "For there,' says he, "you will learn every thing of importance that is contained in the Iliad and Odyssey, without the trouble of reading two such tedious books." Alas! it had not occurred to the poor gentleman that all the knowledge to which he attached so much value was useful only as it illustrated the great poems which he despised, and would be as worthless for any other purpose as the mythology of Caffraria, or the vocabulary of Otaheite.

The author

Of those scholars who have disdained to confine themselves to verbal criticism few have been successful. The ancient languages have, generally, a magical influence on their faculties. They were "fools called into a circle by Greek invocations." The Iliad and Æneid were to them not books, but curiosities, or rather reliques. They no more admired those works for their merits than a good Catholic venerates the house of the Virgin at Loretto for its architecture. Whatever was classical was good. Homer was a great poet; and so was Callimachus. The epistles of Cicero were fine; and so were those of Phalaris. Even with respect to questions of evidence they fell into the same error. ity of all narrations, written in Greek or Latin, was the same with them. It never crossed their minds that the lapse of five hundred years, or the distance of five hundred leagues, could affect the accuracy of a narration;—that Livy could be a less veracious historian than Polybius;-or that Plutarch could know less about the friends of Xenophon than Xenophon himself. Deceived by the distance of time, they seem to consider all the Classics as contemporaries; just as I have known people in England, deceived by the distance of place, take it for granted that all persons who live in India are neighbors, and ask an inhabitant of Bombay about the health of an acquaintance at Calcutta. It is to be hoped that no barbarian deluge will ever again pass over Europe. But, should such a calamity happen.